Category Archives: Independent Music

Todd Carter a.k.a The Looking “Songs for a Traveler” Album Release Party

Posted by musichistorian on
The Looking Album Release Flyer

The Looking Album Release Flyer

You have read about Todd Carter a.k.a. The Looking’s exciting listening party for his newest rockin’ cover album, Songs for a Traveler. Now, everyone has the chance to hear these great songs for live at The Looking’s album launch party at Bowery Electric on Friday, April 26th!

“I have been interested in American folk songs since the time I started playing music in Indiana,” Todd says. “It was the thought of mixing my love for 80’s and 90’s alt-pop with these old songs that resulted in Songs for a Traveler.”

Todd will spin songs from the 1950’s, like “Sail Around” and “Long Black Veil” into lush, dreamy soundscapes that climax in full rock fashion, with the help of his backing band. The band features John Andrews, Gerald Menke, Chris Morrissey, Adam Kromelow, and Bill Finizio. NYC Ukulele Troubadour Roger Greenawalt and Violin Virtuoso Ernesto Villa-Lobos will also join Todd as guest performers.

Loudboy, led by John Andrews (Botanica, Angela McCluskey, Morely), and Brian Viglione of the Dresden Dolls will open the show at 7:00pm.

Official Press photo of Todd Carter

Official Press photo of Todd Carter

Experimental indie-songstress Alyson Greenfield, who has recently found fans in WNYC, Converse and AOL.com, will close the night.

Collected Sounds describes Todd’s vocalism and performance as “intriguing and fascinating.” The Chronicle claims his work is “eclectic and provocative.” IndieMusic.com says Todd’s voice is “like nobody else you have heard before…majestic.”

Make the weekend of April 26 one filled with the American classics you love made great for Rock ‘n’ Roll. Todd’s album launch party for Songs for a Traveler will start at 8:00 pm. The opening show begins at 7:00 pm. Purchase your tickets here and save your spot at the Bowery Electric.

Roger Greenawalt on Music and Business Part 2: The Beatles Complete and Beyond

Posted by musichistorian on

Leah Siegel sings "Oh Darling" with Roger on Ukulele In Part One of my conversation with Roger Greenawalt, I learned about the life of a record producer at Shabby Road Studios and how some producers work with artists. In the continuation, I learn more about Roger’s inspiration behind the annual Beatles Complete and his other title, the ukulele carrier.

“For three and a half years, I’ve been carrying this [the ukulele] everywhere,” Roger explains. “It’s an ongoing permanent art exhibit. This performance is forever. I also do it to constantly interact with people, and I sort of know the range of reactions.

“Today, for example, a woman jogged by and said “go on brother.” That was one reaction. A very common one I get is when a mother is with her kid, and she points me out to her child, but she doesn’t need to because children usually directly engage with me and follow me with their eyes. Then, there are those that pretend not to see or hear me.”

I asked Roger whether anybody ever approached him and asked to play his ukulele. He says:

“No, actually, the opposite happens. I’ll show you.

“Someone will come to me and say “wow that ukulele is so cool” and I will put it in their hands.” Roger hands me the ukulele to demonstrate. “I would tell you to put one finger right there and strum steadily.”

I placed my finger on the first string right on the third fret, and strummed as Roger sang an English lyrical improvisation of “Frere Jacques.”

“I’ve taught them a song they will always remember for the rest of their lives,” says Roger. “I’ve had people come back to me after I taught them the song, and they would say “I will always remember that first song.””

My personal experience interacting with Roger on the ukulele was exciting, especially when I realized playing the ukulele is really just playing a fragment of the guitar. According to Roger, many skilled guitar players express the same realization about the ukulele.

“That’s what I realized when I started playing,” he echoes.

I then asked Roger why chose the ukulele as a trademark instrument, and then why dedicated an annual music event to The Beatles.

“Multiple factors,” explains Roger. “A) People love the ukulele.

“I started playing the ukulele right after September 11th (2001) and like many people that year, I was in a lousy mood. Then, one day, my cousin who lives San Francisco – he is a book publisher and a talented amateur musician – invited me to visit. So, after the flights started up again, I took a plane to San Francisco.

“When I went to see him, I learned that he had just been in Hawaii cheering himself up from a break-up. He picked up the ukulele and started learning songs. It just made him happy; it’s this happiness machine. And, the appeal of the uke keeps getting bigger.

“B) There is the undying universal appeal about the Beatles.

“They have been a unique phenomenon throughout the years. The passing of their music from generation to generation has been frictionless. Kids continue to like their music and they keep getting bigger every year. They are the second best selling artist of the last decade after Eminem. So, these are both two good things.”

Roger continues, “Then, if there are 60 artists and they each have two friends, there is a good chance these two people will show up to watch them perform. So, there will be 60 different people in the show, and they will bring in an audience of 120.

“That’s why the event works.”

Yuzima jams with Roger at the Beatles Complete on Ukulele to "Hey Jude" Based on my experience, The Beatles Complete on ukulele does work in attracting a crowd. I remember the 2012 show, which fell on the first weekend in January. People packed the space in front of the stage, shoulder-to-shoulder. I remember singing to Yuzima’s rendition of “Hey Jude” with my sister as we stood among the crowds. To our right stood two Brooklyn bachelors sporting wind breakers and beanies, while to our left, a father was raising his toddler-aged son on his shoulders to see the musicians on stage.

However; I also do admit that outside circumstances, which are not related to music, also play a determining factor on whether the next show the following year will produce a greater turn out than the one prior. For example, this year’s show fell on a weekday, which probably prevented families from attending. In addition, it was also one of the coldest nights in January, a factor that might have discouraged many from coming out. Roger comments:

“If it was not the coldest night that day, the place would have been packed.”

Luckily, people, whether they are returning attendees, new comers to the area, first-timers, or tourists, will likely come to Brooklyn Bowl next January to hear the cheery sounds of the Beatles on Ukulele and hopefully remember it as an event that brightened their beginning of the New Year.

The same applies to many of the musicians that return the following year to perform a set. It gives them a great performance opportunity; a chance to jam with similar groups like them from the Williamsburg area; and a moment to make themselves known to a new group of Brooklynites.

As Roger prepares for next year’s Beatles Complete on Ukulele, he will also continue to work closely with artists looking to really make their big break on the New York City music scene. Roger talks about two musicians in particular.

“Lovely Liar,” he explains, “is a collaboration between me and Tatiana Pajkovic. She is tall, authoritarian, fabulous and tense. She has a Billy Holiday-kind of tone to her voice, and her style ranges from stately mid-twentieth century to French disco.”

Roger is also working with another act called Reno is Famous. Reno is a world class dancer who is a member of the Ballet Company of the Metropolitan Opera.

Roger describes her as “A very well-thought of modern dancer making her way to rock star.” He adds, “Her repertoire includes aggressive punk music ranging to electronic dystopia; a style that is much darker than Radio Head.

“This one’s really close to my heart. I’m making all the soundscapes [in her music] and it includes experimental elements of all my favorite things like strong acoustic ukulele and guitar riffs. It also includes reggae bass, funky drums, and hooks and groves…”

My interview with Roger has come back full circle to his work at The Shabby Road Studios.

In Part One, I learned of two very important pieces of advice that Roger has for aspiring professionals: musicians must always make room for business if they want economic success; and that the more an artist adapts, the faster his or her circumstances will change for the better. In Part Two, I learned about his inspiration behind playing the ukulele and the annual Beatles Complete.

Reviewing our conversation, I realize that Roger makes room in his studios for artists of all backgrounds. A musician can be inspired by a genre that is not widely heard in America, or have performance experience within a different art form other than popular music. If the artist is willing to commit to his or her craft, and willing to work with an experienced professional like Roger in making excellence in music; they will learn a great deal about how to work in the industry, and continue on their professional path with, hopefully, more confidence.

Roger Greenawalt on Music & Business Part 1: Running Shabby Road Studios

Posted by musichistorian on

Roger Greenawalt at Shabby Road Studio. Courtesy of Originalhipster.net Last week, on one of the windiest evenings in January, I stopped by the Shabby Road Studios to talk with record producer Roger McEvoy Greenawalt. I asked him what a high-quality recording requires, and he says, “All you need is a good microphone, a mic pre-amp, and an audio digital converter like an M-Box going into a computer.

“That’s it; then knowing where to put the microphone, and a good musician playing a good part on a good instrument. Finally, a good mixer can make anything sound serviceable.”

As my conversation with Roger continued, I learned that while anybody can produce a record, a musician needs more than talent and ambition to become a professional.

My debut full-length interview for 2013 will be divided into two parts. In this article, part one, I talk with Roger about: the most important lessons he learned as a musician in his early years; the day-to-day in the life of a record producer at Shabby Road Studios; and the advice he has for young musicians looking to make it in music.

Early years with The Dark

During the start of his career in the early 1980’s, as a guitarist for the band The Dark, Roger learned the difference between a musician that was ready to take on the music industry, and one that was not. Roger explains:

“We [The Dark] were on Relatively Records at the same time as the Beastie Boys, when they were putting out their first record, “Cooky Puss.” And Megadeath was also on the label. We were at the right place at the right time. Our music, structurally, was cutting-edge, but not suicidally so.

“I think ultimately though, we had two weaknesses. The first was all my fault – I was the leader of the band and we did not develop an effective business team. Although we had some good PR instincts, we just couldn’t focus on them.

“Art lives in a system defined by commerce. Visionary entrepreneurs like David Geffen, for example, actually curated the culture. The artists that were closest to him defined the core of a dominant style and they acquired the best reputations. Think Neil Young and Joni Mitchell. Are they really the best of their era, or did they have the best PR and management?

“Secondly, our singer did not believe whole heartedly that he was the “Joseph Campbell” hero character. He would not inhabit the hero. He thought it was okay at the time to make fun of the rock star. Our singer was a virtuoso but he didn’t really believe he was a star. He made fun of it and didn’t really own it; so that gave people this view: “If he doesn’t believe it, then I don’t believe it either.””

Transitioning into the Recording Business

Roger eventually became The Dark’s ad hoc manager. Then, in 1983, the band parted ways.

Roger then describes the transitional period in his life from the guitarist in The Dark to learning the business of the recording studio.

“The Dark won a Battle of the Bands contest, and we won the time to do a record with Rico Ocasek at the Cars Recording Studio Syncro Sound, on Newberry Street in Boston. Then, I became the habitué at the studio and just insinuated myself there and made myself useful.”

Roger’s experiences at The Cars Recording Studio later took him to different recording experiences in the United States and abroad. Roger has only been living in Williamsburg, Brooklyn at Shabby Road Recording Studio for the past 13 years. Prior to this, he lived in Los Angeles; Kingston, Jamaica; and London. He briefly touches on what he experienced in each of these musical landscapes.

“During the time that I was in London, in the 90’s” Roger says, “the major label businesses were flushed with money; very different from now. I liked the energy of that city; it was similar to that in Los Angeles at the time. I still like the energy of LA now.

“When I lived in London, I was always learning a lot about new music. London is fantastic for music – their [London recording studios’] recordings are just more exquisite. They have more quickly evolving styles, they’re cutting edge. Since it rains there all the time, people stay indoors more when they record music.”

Working at Shabby Road: “…master the technical stuff and listen widely and voraciously.”

Living and working in different studios will definitely provide a developing music producer with plenty of experience. The more experienced the producer, the better they are at the craft. Roger states:

“To be a producer is to master the technical stuff: audio engineering; the physics of music – to understand that music is a subset of the physics of sound; and also the challenge to become an expert on as many musical instruments as possible; and listen humbly, widely and voraciously.”

During our interview, Roger exhibited to me exactly how the required skills of a music producer would translate into the everyday work of creating a record.

“My job is mixing and recording albums. I’m actually making loud speaker paintings.

“When we look at a classical musician, like Bach Concertos or especially Ravel, we figure out what to do with all the tones, frequencies and the ranges. Then, there is Nelson Riddle and George Martin and Max Martin to contend with. Time is the magic that music flows within. The rhythm of what’s coming out of the speakers, the display of all the different frequencies. What are the words being spoken/ rapped/ sung? You ask yourself ‘what do you do with all of that?’ ‘How do you disperse the energies to tickle the human brain and the nervous system just right?’ ‘Where do you draw the line between structure and surprise?’”

Roger on bass at the Shabby Road Studio. Image courtesy of Originalhipster.net Roger continues, “I really like playing reggae bass. I’ll give you a taste of what reggae bass is – the opposite energy-wise of the ukulele, which is a collection of high frequencies just floating and dancing above in the hi register. The voice is here, in the middle,” he shows me with a flat-hand positioned in front of his mouth, “and the ukulele is here,” he moves his hand above his head, “and the bass is down here,” he re-positions his hand below his chest. “So it’s great that the voice has all this space and the bass generations so much more energy without clouding the vocal.”

Roger plays me a line that is typical reggae bass. The line is written in a minor melody, and is easy to remember and repeat. He then picks up the ukulele and plays a few staccato minor chords. He plays these chords again in an arpeggio, and then changes them up again my turning these chords into major chords. Meanwhile, for every variation, he repeats the same minor bass line.

“There is a lot of color that can go over it [the bass line],” concludes Roger.

Whenever an artist comes to Shabby Road Recording studios, Roger applies a similar technical process to every client. The instrumentation and the goal for each recording session varies widely though.

“For musicians I haven’t worked with before, I ask them to send me a Spotify list of all their favorite stuff. I will listen to these songs with the artist and talk music. Then I will play them my favorite stuff and say “this is what I think is cool.” Then we would make a Venn diagram and see where our likes overlap.

“In the same moment, I will also try to tactically push a formal element so that this way, we are consciously doing something innovative without abandoning my two core values. The first: hook and second: groove. And crucially, the emphasis is on the singer. After that, everything is up for grabs: what instruments; what historical influence; what ensembles; tempos; and mood/feeling.”

Confident and Experienced Musicians are Interested in Learning

Artist Kiddeaux (Left) accompanied by Roger Greenawalt (Right) in the basement of Shabby Road Studio. Photo courtesy of maneatingseas.com  Roger’s job goes beyond providing the recording space and acting as master of the equipment.

“I don’t want to be anyone’s bitch,” he enumerates, “nor do I want to oppress anyone. I find that the more confident and experienced the person is, the easier it is for me to collaborate with them and the easier it is for them to listen and take advice.

“It’s painful to work with the inexperienced and insecure. They’re unable to put excellence outside their ego.

“I ask, “Can you be taught?” Because if they are interested in learning, then I am as well, and I see they want to be on a team that learns together.

“I don’t care about me and what I think, I care about the thing being excellent; and that takes a little bit of maturity.”

Of course, there are plenty of artists that know exactly what they want when they enter a recording studio; that is to put their song on a record. While Roger is open to this idea, he still expects more openness and commitment to the creative and collaborative process from the musicians that enter his orbit.

“If a musician has songs to record, I’ll be up to record their songs. I’m still into all of that, but I would rather start songs from scratch and create songs together.”

For The Young Musician: the benefits and challenges of the industry

Shabby Road Studios caters to musicians looking to get serious about their craft, and sometimes that means the artist must step outside of their normal routine and create new songs with producers. Based on what I learned from Roger, the musicians that are open and willing to accept this are the ones ready to take the first steps in pursuing the music industry. So what are the benefits and the challenges of taking on such a task today? Roger explains:

“There are multiple levels of rewards. The arts are good for people’s soul. Talented artists that work for themselves and are not working for any corrupt institution that oppresses people is a win/win for humanity.

“Aside from the grandiose and narcissistic personality; fame is necessary for economic survival in popular music. Fame is just part of the job. On a spiritual level, it doesn’t have to be who you are. There are a range of celebrities that are more-or-less well-adjusted. There is a range between Amy Winehouse and Tom Hanks.

“The challenges? Now, you have to be an artist, an entrepreneur, run your own small business, find your own scenes and drive people yourself. You have to be very good at that and adapt. The more you adapt, the faster things are going to change for the better for you.”

Recalling my past interviews with artists, each one encountered a specific obstacle. Sometimes it involved growing comfortable with performing in front of a large crowd, discovering a signature sound, or seeking the right ensemble. Each musician found a way to overcome their challenge and continued on their professional path.

What I didn’t realize until I met Roger is that economic success for a musician also depends on their ability and willingness to firstly, grow artistically and secondly, learn from a producer with extensive experience on the business side of music. Like Roger confirms:

“Being good at music is just not enough. We have to be good in business.”

What’s ahead?

Since I am talking to a music producer that has a ton of experience under his belt; my debut interview with Roger Greenawalt will continue in part two, which I plan to have up by the end of the month.

The Beatles Complete on Ukulele with Roger Greenawalt: A Breath of Fresh Air

Posted by musichistorian on

The Beatles Complete on Ukulele at the Brooklyn Bowl is a musical collaboration between young singer-songwriters on the New York City music scene and lifelong instrumentalists that met for the purpose of celebrating the canonical music of one of the most world renowned British bands.

Image Music producer and ukulele player Roger McEvoy Greenawalt led this event for the fourth time. This year, the back-up band he played with was The Angry Buddhist East Band. On stage, from 8:00pm to 12:00am this past Wednesday, Roger was also joined by a number of musicians of different professional backgrounds.

The Brooklyn-based experimental singer-songwriter, Alyson Greenfield was the first artist to jam with Roger on a cover of “Glass Onion” and “I Will.” The electric violinist who has toured the world with Cyndi Lauper, appeared on Saturday Night Live and the Late show with Conan O’Brien, Deni Bonet helped Roger and the back-up band transform the upbeat “Please Please Me” into a folky minor-key serenade. Avi Wisnia worked with Roger to turn “She Loves You” into a slow and sensual cover that echoed the pop singer-songwriter’s signature Bossa Nova sound.

Additional artists that joined Roger that night included: Mike Rimbaud, who covered “Can’t Do That”; Olivia Mancini who performed a rendition of “I’m Looking Through You”; the ukulele female duo, Supercute that performed “Getting Better”; Leah Siegel who performed “Oh Darling”; the underground industrial rock musician, Yuzima who covered “Hey Jude”; Craig Greenberg who together with Joy Askew performed a rockin’ version of “While My Guitar Gently Weeps”; and many more.

One might call this event a breath of fresh air, especially if the individual looks to get away from the confines of mosh-pit concerts or the house DJs in New York City’s most expensive clubs. The Beatles Complete on Ukulele allows Brooklynites to enjoy music among a crowd of respectable musicians and audience members. On this note, I will talk about some of the reasons why this event is attractive, as well as reasons for why some people might be turned away. 

A Wide Range of Listeners

The meeting of musicians of all ages and different musical backgrounds attracts a crowd of people that come from different walks of life and span across a wide age range. Some audience members might have formed a friendship with the musician from past shows, and have come to this event to lend their support and see a familiar friendly face on stage. Some might have just come from work, looking to have good and clean musical fun.

The majority of the audience absorbed the atmosphere and performance vibe just in front of the stage. The bar in the back of the performance space, just at the right of the coat check, was occupied by individuals that had planned social meetings with several of their closest friends and acquaintances, and purposely wanted to keep the music in the background. However; this is not to say the music didn’t reach them at all in the foreground of their conversations.

As I waited at the bar for a Brooklyn Lager and a long flat bread pizza, I listened to Craig Greenberg and Joy Askew play “While My Guitar Gently Weeps” and applauded them. A British man in a long black blazer and shades to my right joined me in my applause and remarked “This band definitely rehearsed!” I responded with a nod of agreement.

Everyone enjoys themselves and the music 

I watched Yuzima lead the crowd in a sing-along to Paul McCartney’s “Hey Jude” – a moment that lifted everybody’s spirit and created a sense of community in the audience. Earlier in the program, Leah Siegel sang her rendition of “Oh Darling,” in which she gracefully choreographed a physical performance that communicated beautiful anguish. This performance could only make some of the feel like Leah was specifically singing to them.

 Whichever artist came up to the stage, Roger was always in the foreground interacting with the main act. This makes audience members, especially those who are new to the Beatles Complete, naturally think that Roger is a part of all these groups. As for those who are returning for a second time to watch this line-up, they will also feel like Roger is a part of every musical act. Roger’s complete sense of comfort and joy in performing with each consecutive performer might attribute to this visual affect. Some might even begin to wonder how he finds the energy to stay on for the entire four hour program.

Ticket holders get their money’s worth   

I applaud the musicians for overcoming the distractions from the bowling area adjacent to the main stage. Every musician that night performed with Roger and The Angry Buddhist East Band like they were at an intimate venue. Attendees can rest assured that they will get their money’s worth at the Beatles Complete.

On this note, I should mention the ticket is only $10.00. However; if you are very pleased with what you hear and see, you will probably feel compelled to enjoy some food and drink. Now, here is where I believe concert attendees will run into a petty and annoying detail: Brooklyn Bowl is an expensive place.

Price for food and drink a little bit high

The drinks are all over $6.00 and customers can only use credit cards for a minimum of a $10.00 purchase. Although this might be great for attendees that crave food; a dish as simple as a Margherita flatbread pizza is at least $10.00. This and a drink come to $20.00 per individual, and this is only bar food! In addition, the kitchen closes at 11:00pm – something that audience members must research in advance.

Although I can come to understand the kitchen has to close at some time; the price for food and drink is still a little bit high. However; I do say the price is definitely worth the great experience at The Beatles Complete.

Avoid the “Gypsy Cab” after the show

I must also warn concert attendees that if they wish to take a cab home, they must vigilantly seek a yellow cab service as opposed to the white or black Lincoln Town Cars that are used in the highly popular and dodgy “gypsy cab” scheme. The outside of Brooklyn Bowl will be lined with both real taxi cabs and false ones.

See who is active on the NYC Music Scene

In conclusion the positives of The Beatles Complete on Ukulele at Brooklyn Bowl weigh out the negatives. The greatest strength about this performance includes Roger Greenawalt’s love for the Beatles, ukulele and collaboration with great artists on the independent music scene.

I am happy to share some very muffled-sounding videos from Wednesday night’s performance right here on my Youtube channel. I apologize for the poor sound recording quality but I hope readers form a good idea about the experience they might have if they’re interested in coming out to Brooklyn Bowl either for next year’s Beatles Complete led by Roger or other musical occasions. And then, of course, there is always the bowling.

Finally, for those real music lovers out there; The Beatles Complete is a great opportunity to see who is active on the independent music scene of New York City. Most of the artists that performed with Roger on stage that night are very likely to have something new – an album, a tour, or exciting musical project – taking place in the New Year.

So, to those that came out to the Beatles Complete last Wednesday night, I hope they enjoyed themselves and the musical experience. For those who did not, I encourage them to learn more about the musicians, including Roger Greenawalt, and make a trip to Brooklyn Bowl for next year’s performance.

Sean Bones Interview: An artist on an Exploration… and he’s “Here Now”

Posted by musichistorian on

I love living an hour away from Manhattan; it makes traveling to the city for band performances so easy. On Friday, August 3rd however, I was surprised to learn that a band I wanted to see, Sean Bones, was making a trip out to the suburban town along the north shore of Long Island, Huntington.

He performed an hour-long set on an outdoor stage in Heckscher Park. It was a great evening to enjoy music and an even better time to hang out after the show and personally invite Sean Bones to be the full-length interview feature for the Music Historian Blog, Hear; Don’t Listen.

“A charming take on the 3-minute pop song”

Anyone who listens to Sean’s music will hear a range of styles- from surf rock to folky psychedelia –all under the influence of Jamaican music. He explains, “I started to discover a lot of interesting older reggae. When I discovered rocksteady artists, like John Holt and Alton Ellis, I found that they really had a charming take on the 3-minute pop songs. And that eventually lead to more experimental dub music.”

Since I was unfamiliar with the term “dub” that often shows up in reggae music, I asked Sean to enumerate.

“Dub music began with Jamaican producers removing vocal tracks from singles and experimenting with the instrumentals. Producers like Lee Perry would break song down to just bass and drums, and sometimes add a layer of sound effects and delay.”

For Sean, reggae is a genre in which he can integrate his own musical experience with some of his favorite influences. In the album, RINGS which was released in 2009, he incorporated a Barrington Levy beat in the single “Dancehall.”

“He [Barrington Levy] is a reggae singer, and he was at the forefront when reggae started turning into dancehall,” explains Sean. “One of his albums, Poor Man’s Style inspired the song “Dancehall.”

Sean performed the single “Dancehall” for the Huntington audience at the end of his program. Most of the songs he played though are featured on his second release, Buzzards Boy.

 “I focused on making more of a deliberate statement”

The most obvious musical difference between the albums Buzzards Boys and RINGS is the pace in each song. Sean shares his experience recording these two different records.

“Production on both albums started with live band tracking. On RINGS I spent less time rearranging songs. On Buzzards Boy I took more time and focused on making more of a deliberate statement – something that was specific to a “Sean Bones” sound.

“The second album included a lot more layered recording than the first. I made the first record while I was in another band. When I created the second album, I wasn’t in a band anymore, and I acquired a bit of an audience as a solo artist. So, I focused on making an album that was specifically mine.

“Also, RINGS was very faced-paced, and I wanted to slow down Buzzards Boy.”

In addition, the word “Buzzards” is also “…a reference to the area I’m from – on Buzzards Bay,” adds Sean.

“Tell Me Again” is another song that struck a chord with me. At Heckscher Park, Sean described this track as “… a song from a colder place; no where tropical, more like the North Fork and beyond.” 

Several of Sean’s songs paint pictures of faraway areas and take listeners to places that are far away from the busy city – places of a nautical origin. Sean would say that many of his songs are about “getting away from Brooklyn, and coming to a nice place like this.”

The most enjoyable part of making music for Sean revolves around the ability and opportunity to create music with great musicians and experiment with sound engineering.

“I would like to appropriate some of what I learned from sound engineers and people that I’ve worked with”

“Recording at any time is the high point for me; as well as working with great musicians and in great recording studios.”

Sean is currently preparing to record more music in September and October of this year. He will focus more specifically on music that is fast-paced, like the tracks on his first major release RINGS. He is also preparing for a possible tour at the end of October. In the meantime though, he’s undertaking another exciting project.

“I’m building a studio in my basement, so I can make more of this record on my own” Sean explains, “it’s going to sound more home made.

“I would like to appropriate some of what I learned from engineers and people that I’ve worked with and make something a little cruder or maybe unclean. I’d like to maybe show that when there is a ‘learning-curve’ in making a homemade record, it can sound interesting in its own way.”

This ‘learning-curve’ is something that several artists have experimented with and revisited. I recall the White Stripes 2003 release Elephant where the band specifically played and recorded music with out-of-tune instruments.

Lately, I have also taken up listening to an independent group that wrote an album called Teenage Hate, a compilation of over 20 songs that sound like they were recorded in a small room with a tape recorder. On a more personal note, listening to this album sometimes reminds me of a time when I composed my own songs on guitar and used a hand-held Panasonic tape recorder to put them on a cassette tape. When I did this, I often used what little amplifying equipment I had in arms reach, like a karaoke microphone that I taped to a tripod.

Although I partook in this kind of music making as a high school student and in my early college years, I hadn’t written anything since then. Making music is not just a career; it is part of one’s life. This is especially true for Sean, who from early on was sure that music would always be a part of his life.

Starting as a supporting instrumentalist then developing “the core of the Sean Bones project”

“I started playing music in grade school. My Dad taught me the piano, and then he taught me the guitar at 12. I played with my friends from high school band well into my 20s, and we all eventually relocated to New York City for different reasons. After that, we went our separate avenues, or looked for new musical projects.”

The New Bedford, Massachusetts native had been a supporting instrumentalist up until he made RINGS in 2009. Once it was time to look for a new musical avenue, Sean became interested in developing his own sound and pursuing his own musical projects.

“The Sean Bones project allowed me to pursue a style of music that wasn’t being replicated a million times,” he explained, “and that was the reggae style from the 60s and 70s.”

Very well, Sean admits that reggae music is definitely a part of the popular music landscape, and “it shows up everywhere,” from the Beatles’ music, to songs by Sean Paul. However; several fans of popular reggae music might forget that this genre includes a wider range of artists beyond the Bob Marley phenomena. Reggae and its relatives like dancehall, rock steady and more always leave room for experimentation; and Sean Bones might have found that as he embarked on an exploration for his own sound.

 Wherever his curiosities take him musically, Sean is bound to gain attention from people in the arts and entertainment world. He has already made an appearance on an episode of HBO’s Girls acting in a fictional band named Questionable Goods alongside actor, Chris Abbott. In addition, NME.com recently put up the video for “Here Now” on their site.

As for New York City audiences, they can expect to see Bones perform with his band at The Glasslands Gallery in Brooklyn this August 29th. Tickets are currently on sale here. In the meantime, you can also view the latest video for Sean Bones’s single, also from Buzzards Boy “Hit Me Up” on Nowness.com.

3dCosby’s Daniel Harris Talks about Band’s Latest Album, Satan’s Secret and “Doing Family”

Posted by musichistorian on

 On the hot and muggy Thursday, June 21st, I traveled to Williamsburg to visit the Cyn Lounge. Here, Avi Wisnia was hosting his annual BBQ Block Party. Although the heat persisted as 8:00pm rolled around and I was sweating through my work clothes, I was happy catch up with Avi to hear some of the bands in his line-up. One band I particularly enjoyed was 3dCosby.

The songs by this band that caught my attention included “Paint by Numbers” and the humorously-titled track, “Star F*cker.” Both songs are featured on their latest record, Satan’s Secret. All of 3dCosby’s tracks combine funk and jazz. Occasionally, they will add a special musical technique called polyphony – the playing of four different voices or melodies produced by the guitar, keyboard and bass all at the same moment.

During their performance, the front man of 3dCosby, Daniel Harris, invited audience members to dance to some of the instrumental pieces. The audience, me included, responded positively, and moved to the rhythms of their songs inside the small cemented outdoor space of the Cyn Lounge.

Daniel Harris on guitar and mic at the Cyn Lounge, June 21, 2012

Daniel admits that “it’s great to see people respond to it [our music].” However; Daniel and the member of 3dCosby who is perhaps closest to him, Matt Ross, see music making as more than just a means for having fun; it is how they “do family.” Over a telephone conversation, Daniel talked to Music Historian about the history of 3dCosby, the album, Satan’s Secret, and most importantly, the development of their style. I am happy to introduce 3dCosby as the full-length interview feature on Hear; Don’t Listen for the month of July.

Pre-beginnings of 3dCosby: Hillel

Anybody who listens to Daniel talk about 3dCosby can believe that this band is a family.

Daniel says, “Matt and I initially met when we both moved to Monroe, New York. Our Moms introduced us, and we were pretty much attached at the hip. We went to the same camp; we were in the same Jewish youth group” and they made music together from an early age. Daniel continues:

“We both grew up around music. Matt’s Dad was a professional musician who practiced saxophone and flute. My Dad taught me to use the turntable when I was 3 years old; and in the 4th grade, I started playing cello and Matt picked up trumpet. In the 5thgrade, I picked up guitar, and at that time, Matt and I would listen to songs on the radio and write our own lyrics.”

Daniel Harris and Matt Ross, courtesy of 3dCosby’s site on bandcamp.com

Daniel and Matt initially dabbled in the idea of forming a band. Then, once the two hit high school, the idea slowly turned into a reality.

“Matt and I wrote our first song at 14 years old called “Never End” inspired by the author, Michael Ende who wrote The Never Ending Story. We also started playing in bars, coffee houses and in people’s backyards at that age too.

“Our band was first called Hillel (named after Hillel Slovak of the Red Hot Chili Peppers), though we eventually changed the name to Ethan’s House of Pancakes. At the end of high school, I got a call from our friend Alan asking if I wanted to start a new band with him. “Can Matt be in the band?” I asked. Alan said “Totally,” then added, “We have a gig in two weeks at the House of Blues in Boston.”

Daniel admitted that playing the House of Blues was an epic opportunity for him and Family Junction at the time. The band stayed together for about 7 years. While they were in the process of recording a series of 5 EPs, Hillel separated. Daniel describes the break-up:

“We [all the band members] started taking on extra projects. Matt was working with other bands and I was working on solo stuff. We made the collective decision not to play anymore shows until the EPs were completed, which ostensibly was a diplomatic way for us to sadly agree that things had come to an end. In the Fall of 2008, I put out my first solo album, “Thirty-two bit isn’t really eight bits better” which you can check out on http://www.iamdanielharris.com.”

Luckily, the break-up of Hillel was not the end of the friendship between Daniel and Matt. These two would continue to make music together.

“This is just what we do – we’re brothers, and at the foundation of our relationship is music. It [music] keeps us together and it keeps us sane.”

“It All Made Sense”: A few jam sessions and songs later, a new group and record forms

Although Family Junction was over, Daniel and Matt decided to come together for a jam session in 2008. Daniel enumerates:

“After the band was already broken up, I drove to Matt’s house in New Paltz and decided to just jam. We soon started writing songs in his living room.

“We just wanted to see what would happen, and as we continued writing together, we soon had enough songs to make album. Just last winter, we decided to make a record which transformed into 3dCosby’s first album.”

3dCosby still remains just Daniel and Matt, and their friends that are invited to play during live performances. So far, the band gained tremendous recognition for their album, Satan’s Secret. The track “Paint by Numbers” became the band’s hit.

3dCosby’s album cover for “Satan’s Secret”

“This [“Paint by Numbers”] is a funny track. My younger brother wrote the lyrics, and it is about a guy named Colors, who only saw in numbers, and a girl named Numbers, who only saw in colors. It was originally an instrumental piece, but someone demanded we add lyrics. So, we gave Jesse, our bass player, my brother’s story, and asked him to write the lyrics.

“This song also makes fun a band we played with a few times. We still love them, and so we decided to tease them in “Paint by Numbers” because we feel one of the ways you show someone you love them is by teasing them.”

After the album was completed, Luke Sullivan, the musician who mastered Satan’s Secret suggested that 3dCosby send “Paint by Numbers” to Michael Marotta, a disc jockey who played songs by local artists in the Boston area on WFNX.

“Luke suggested we send the single to Michael. So we did, and he wrote back to us within 3 to 4 hours and agreed to spin it on the air. He also asked us to follow-up with him once the release date for the album came closer. Then, we were played on 4 to 5 difference station, and we made it to the top ranks on a few music charts like “The Deli New England.”

“The attention from the press was just flowing very naturally and it all made a lot of sense.”

3dCosby was “Satan’s Secret”

Daniel and Matt have constructed their own world of excitement by incorporating their own jokes into their songs. In addition, the dance beats and funky rhythms and dissonances that accompany the lyrics in 3dCosby’s songs invade the minds of attentive listeners and music lovers without creating any discomfort or pain. Daniel validates my thoughts as he explains the meaning behind the album title.

“When we were naming the album last year, this joke happened to come into our minds; then it became that 3dCosby was “Satan’s Secret.” We want to destroy you,” joked Daniel as he continued to make a reference to the Satan character in the 1999 South Park movie.

As Daniel and I continued to talk, I soon realized that we were starting to joke between ourselves. I reiterated back to Daniel my understanding of why 3dCosby thought that “Satan’s Secret” was a great name for their record. I said to him:

“Satan’s Secret is 3dCosby. They want to destroy you, and so do you. They will annihilate you in the best ways possible, and it will seem like you’re not being destroyed at all.”

Daniel responded, “That’s great, write that down.”

As our conversation continued, I saw the progress between the beginnings of 3dCosby to the band’s full-length, Satan’s Secret, which was released in February of this year,as the result of Daniel and Matt’s musical development, their friendship and the appreciation of different musical styles. One individual that Daniel credits for fostering his and Matt’s appreciation for music is their history teacher from junior and senior year of high school, Mr. Lee.

“He showed us a different dimension and put us on a specific path”

“When we graduated,” explains Daniel, “he gave me a copy of the book On the Road and two Frank Zappa albums. I didn’t listen to them until the year 2003. I was going to attend a protest in NYC against the war in Iraq, but ended up spending the weekend in Monroe, New York at Matt’s house.

“When we were there, we really wanted to listen to something we had never heard before, so I found one of the Frank Zappa albums Mr. Lee had given me and I remember listening to the first track titled “Inca Roads” off the album, One Size Fits All.We loved this track; we literally took it with us in the car and drove around Monroe for one hour listening to this song.

“This marked an important musical change in my life. This motivated me to get Frank Zappa’s albums, and through listening to them I was inspired me to revisit an album I already possessed by John Coltrane. Afterwards, I eventually fully understood jazz.

“So, if it wasn’t for Mr. Lee, we wouldn’t have learned to develop an understanding of jazz. He showed us a different dimension and put us on a specific path. That’s why, when we released Satan’s Secret, the initial idea was to make 3 copies of this CD: One for me; one for Matt; and one for Mr. Lee.”

“People…whether they’re musicians or not, they connect with the music” 

Although Daniel and Matt graduated high school over 10 years ago; have experimented with several different musical groups; and have each jumped from job-to-job in order to support themselves; the members of 3dCosby always remember the friends that have helped them and the communities that facilitated their growth and love for performing.

“This is what we want to be doing and we’re doing it our way,” says Daniel. “We’re gregarious; we have a strong sense of community and we love meeting new people. We also stay in touch with our friends from home. Matt still keeps in touch with the friends he’s known since he was a child.

“Through this album, and through music, is how we do family. When people see 3dCosby, and listen to the record, they get to know who we really are and they also see our profound dedication to music, as well as our humor and what music does for us as individuals. People get it. Whether they’re musicians or not, they connect with the music.”

3dCosby is currently working with a third party on a Fall tour for this year. They are booked to perform at Lit in New York City on September 22nd. In the meantime, the duo will continue to make music and perform for audiences everywhere they travel. For Daniel, playing music and doing music with Matt “means more than what any words can appropriately describe” – playing together is “a saving grace.”

Kamara Thomas and The Ghost Gamblers: Where Country Music and the Cosmos Meet

Posted by musichistorian on

[left to right] Kamara, Amal Bouhabib, Jeff Malinowski

 When I first watched Kamara Thomas perform with The Ghost Gamblers on May 2nd at The Living Room in the Lower East Side, I was drawn by her style. She sported a cotton poncho top that was a combo of both a solid color and floral print fabric and a pair of pants with various religious symbols. Then there is her music, with song titles like “Stranded in San Antone” that include these lyrics:

You promised me the rivers of Damascus/ And your love was all that I was askin’ for/ instead you left me Stranded in San Antone…

As I researched the band, I learned they describe their music as cosmic country. The name of this genre and the catchiness of this acoustic folk and rock ‘n’ roll sound, intrigued me so much, I knew I had to invite Kamara to be the full-length music feature for May right here on Music Historian’s Hear; Don’t Listen.

A New Genre: Cosmic Country 

Aside from any country I hear on the radio, The Ghost Gamblers is the first band I heard of that plays cosmic country. Inside The Living Room, where shadows and flickering votive candles set a meditative atmosphere, Kamara explains the genre as she shares her personal history with music.

“In general, I think of myself as a priestess of country music. I was raised with country and classical music at a very early age.

“Before I was 7 years old, my mom was a big hippie and I had always listened to rock ‘n’ roll in my house. Then, when my mom “got God,” as they call it, she became a Seventh-Day Adventist – a religion that is on the side of fundamentalist Christianity. Afterward, I was cut off from rock ‘n’ roll, and also, as far as I could tell, fun. The only music my mother would let us listen to was country and classical.

“But I often wondered why country got to stay and why rock ‘n’ roll had to leave. Country talks about crazy stuff going on in the world just as much as rock ‘n’ roll. My mom just always told me, “Country was about life,” so it was okay.

“As I continued to live in this fundamentalist atmosphere, I adopted a philosophical point of view. I was always thinking about God and tried to integrate everything I was learning with my callings as an artist and singer. I also tried to integrate what I was learning with my own internal disagreements about the fundamentalist point of view. So naturally, my stuff is of a very spiritual nature and I always ask myself spiritual questions.”

Kamara and Jeff

Further in my conversation with Kamara, I learned her spiritual ponderings eventually transformed into journeys, which she shares through music. She says, “As my journey unfolds, the lessons I learn in my life end up becoming songs. One of the songs, “My Pretty Angel” is probably the most spiritual song you’ll hear.

“This song took my three years to write, because it accompanied me on my spiritual journey. When I get the inkling of a spiritual lesson I’m learning, I will write a song, but won’t finish it until the lesson has been fully learned or realized.”

I then wondered whether Kamara applied this process to all of her songs. She then explained to me how her creative cycles differ for each of her songs, and how they correspond with her spiritual journey.

“I write songs in cycles. Some are tiny ones, others are large. Some songs will take me an hour to write, and some will take me seven years. My spiritual lessons are cycles, and they are built into my song writing process. I found, the more I dealt with my spirituality, the more cosmic it became. So, that’s why it’s [my music] is cosmic country.”

Although I found my answer to “what is cosmic country,” I felt I was only seeing the tip of the iceberg on Kamara’s adventure with music. Then, she shared with me another important life lesson – accepting the path of music.

The Need for Solitude: Listening to the Still, Small Voice

She says, “There was a moment in my life I realized I was a musician, and it was weird because all my life, I was involved with music but had no idea I was being called to be a songwriter or a singer.

“As a child, I was heavily involved with church and I was a part of everything that had to do with music. I learned to play drums in the concert band, and I gained all of my singing experience from being in the choir, but I took it for granted. I didn’t realize I was actually a musician.”

When it came time for Kamara to go to college, she knew she wanted to perform, so she decided to pursue acting. However, she couldn’t put music aside. She explains:

“In my freshman year of college, I almost flunked out because I was involved in all these musical ensembles that would start as soon as classes ended, and continued until 11 at night, so I never studied for classes. I was also too involved in communities to listen to or even hear my still, small voice – one that wanted to say “Oh, I’ve been making music all my life” or “Oh, I’ve been a musician this whole time.” I didn’t hear it until I was alone long enough that it finally hit me.”

Kamara claims that solitude helped her discover her need to start songwriting. She found this solitude when she moved to Los Angeles after college to become an actress.

“I moved to L.A. to be an actress, and I didn’t act at all. I happened to stay in a part of the city that had everything I needed to do within a one-mile radius, so I walked everywhere, and fell into the solitude I needed to start writing songs. During this time I started to hear my still, small voice. Then it occurred to me I wanted to be a musician.

“That’s when I decided to move to New York, because I would never be able to cut my teeth into L.A. without a car. And, I could build experience in songwriting and performing.”

 For Kamara, this decision marked the end of one life chapter and the start of another – her life as a musician. Like the cycles of all things that exist in nature and in life, nothing is ever wasted, and that is what I learned from Kamara. She translates some of elements of her past experiences and spiritual lessons into songs. For example, Kamara’s experience with the west, inspired The Ghost Gambler’s hit, “Stranded in San Antone.”

A Place of Spirit that Inspired a Song

“This song is part of a larger story cycle called Tularosa,” explains Kamara. “Tularosa is an area in New Mexico, a place that really caught my attention. I first learned about it when I studied theater in college, and I started to see this place as a focal point for several American dreams. 

“When I traveled to the west, I felt a lot of spirit in that land. If you become still enough, you can almost listen to it. Learning about all that happened in Tularosa lead me to write several songs about this place. “Stranded in San Antone” is one of them.

“So, I was writing this song, but I soon found myself stuck. I had a block, and decided to do a spiritual exercise to find the focus of this song. I took out some tarot cards and did a reading. This helped me find the focus of the story I would tell in this song – one of a woman who did whatever she could to make something of her life and then paid the price of her decisions in order to battle through the rugged terrain.”

Nobody can turn away from the tune that pulls the listener into this story. Kamara’s voice tells the story through the eyes of this character, but it is her voice that expresses that element of rock and folk that excites listeners from the very moment the song starts.

The inspiration behind “Stranded in San Antone,” is very intriguing. How often have you been able to listen to the New York City’s landscape when it’s still? I certainly haven’t, because our city never stays still, and we certainly don’t stand still enough to listen. “Stranded in San Antone” is one of the Ghost Gambler’s songs that will take you to the final frontier of someone’s dream and personal journey.

As my talk with Kamara drew to a close, I learned that aside from being a musician, she is first and foremost, a full-time mother. Playing both roles requires a balance of determination and patience.

The Path and Miracle to Creation

“It’s amazing to play music with a little child in the house,” says Kamara. “I often tell people “I’ve never gotten more done with my music before my daughter was born.” This is because time takes on this new meaning – everything you do is in this allotted time.

“I have to plan what I’d like to do and actually see it though. When I have free time, to not do what I really want is like sacrilege. I think to myself, ‘let me use this time to help make something happen.’

“In this way, she’s contracted me and my husband’s life, but expanded it at the same time. We’re able to do so much more. And it’s great that she’s inside inspiration all the time. She loves music.”

Kamara also says the journey of motherhood teaches her the true value of creation.

“Doing this creative act – passing a human being out of my body and into the world – helped me understand the path and the miracle of creation more deeply. Now, I know how hard it can be to bring something into the world.

“I was in labor for 32 hours. Nothing went wrong, it was very normal, natural and painful; it just took a long time. It helped me realize that in the creative process, you sometimes have to push your creation out; sometimes, you have to trust that it’s going to come out in its own time; and sometimes it is painful.

“What my daughter brought to the picture is far more than what she took away. Now, and I have more patience with myself, and I am more determined.”

Future with The Ghost Gamblers: “It’s Our Time”

 Earlier, Kamara talked about how her spiritual lessons and songwriting process accompany one another in creative cycles. Aside from realizing these cycles, Kamara is now at a point where she can listen to her own inner voice, and reflect on her experiences, and understand how she’s gotten to this point in life. All of these reflections help her to pursue what life has called her to do – music.

Right now, Kamara is finishing her residency with The Ghost Gamblers at The Living Room. They are also getting ready to release an album in September, and she’s currently putting together a free teaser, which she hopes to have ready in the next few weeks. As for the near future, Kamara hopes to get back into the studio and record the next record.

When she is not in the studio, she is raising a child with her husband, who is also the pedal steel player in The Ghost Gamblers. Kamara’s journey through motherhood is a large cycle that has just begun. Like the movement of celestial bodies in the cosmos; family, career and everything else that makes up life, all revolve simultaneously with one another. Some of these life cycles are small, some are large. Kamara’s cycle with The Ghost Gamblers is well underway. She says “We’re just getting up and running – it’s our time.”

“Put Yourself Out There”:Solo Guitarist, Hannah Winkler Shares Her Music and Story

Posted by musichistorian on

In today’s indie band culture, especially the one in the Big Apple, I too often feel that something is missing. Then it hits me – “Where are the solo guitar chicks?” I was happy to finally find one on a warm and rainy February evening, at Seth Glier’s set in Rockwood Music Hall. Here, I stumbled upon the voice and guitar playing of singer-songwriter, Hannah Winkler. 

One of the songs I heard from her that night, “Dear Love” – which is on her self-titled EP – left me in awe. It starts with an unsettling progression of minor 7 chords, followed by progressions of major 7 chords, and then finishes soundly on the tonic, the 1 chord. On top of these harmonies, she sings about how she simply cannot wait for love to arrive, even though it is warm and comforting.

I wanted to find out more about the girl with the intricate chord progressions and the disillusioned views about love. So, I invited Hannah to be my April music feature for the full-length interview right here on Music Historian’s Hear; Don’t Listen.

“The Paper Plate Song”

Hannah and I met at the café on East Houston, Sugar. In our conversation, I learned that Hannah’s relationships with friends both from her home in Bethesda, Maryland and the University of Michigan at Ann Arbor influenced her songwriting. She says:

“During my freshman year, I was writing “Dear Love,” and one of my friends wrote lyrics which I later set to this song. Coincidentally, the lyrics he wrote happened to describe something I was experiencing at that time – a long distance relationship. The lyrics just fit with me, and I just finished with what he started. “Dear Love” became one of my favorite songs to play.

“My relationships and my friends’ relationships in college inspired my music; we were learning a lot about ourselves at that time. Also, missing relationships from home, missing relationships from college while I was at home also inspired my songs.

“I wrote a song after I left college called “The Paper Plate Song.” When I wrote it, I was at a concert, and I missed my friends so much that I started crying and had to leave the concert. As I left, I needed to write down what I was feeling, so I searched for whatever I could find to write on, and it happened to be a paper plate.

“Until this day, I don’t have a title for the song; it’s just called “The Paper Plate Song.”

College was also where Hannah had her first performing opportunities for her own music. All her life, Hannah only performed solo classical piano pieces or performed in ensembles. Luckily, Ann Arbor offered her several safe and intimate spaces where she could practice as a solo artist and share music with her friends and the surrounding community.

“Put Yourself Out There”

“I would perform for friends in my apartment and at a local church that welcomed a lot of jazz musicians.

“I also participated in a student songwriting competition which took place at Ann Arbor’s premier folk venue, The Ark. The winner of this competition would get to open for an undetermined better-known artist at the Ark. I ended up winning the competition, and opened for Joshua James a few months later.

“Not only did I open for Joshua James, but I got my foot in the door and was able to play again at the Ark. Afterward, I performed at a large outdoor concert series, Top of the Park Festival. I also met a few dj’s and had the opportunity to perform on a few local radio stations.”

Hannah’s message to all soloists is, “Put yourself out there. You might meet people who can recommend you to a specific venue or a band in need of an instrumentalist.”

This is just one way a singer-songwriter can attract opportunities. I then asked Hannah whether her move to Brooklyn was a result of her hunger for more opportunity.

“Moving to Brooklyn, I was able to collaborate with several artists. I opened for Seth Glier and Theo Katzman at Rockwood. Then last Thursday night, I played at Googie’s with several other friends. I also sang back-up vocals on a record by the band called Guggenheim Grotto.

“Open mic night is also great way to meet people with whom you can collaborate. I also like taking breaks from doing my music, and helping other people with theirs. This is how I met Kat Quinn, another artist. I will be singing back-ups for her on her set at Rockwood.”

Aside from singing with fellow artists, Hannah also scored a short film by her friend from college, Perry Janes titled, Zug. Her most recent single, “Hide it Away,” which she produced with Theo Katzman, is included in the film. Another one of Hannah’s friends, Brian Trahan, also from University of Michigan in Ann Arbor, helped her produce her EP.

“I want to see who will help me bring out the best in my songs”

“While I was in college, Brian and I sang together in an a cappella group. I started recording the EP with him and I enjoyed seeing what he had to bring to the table. He is very influenced by rock and classical music, and for some of the tracks, we invited string quartets to help us complete the songs.”

Hannah adds, “Recording the EP was a wonderful journey. I like painting with music, and you get do that in the recording process.

“I have a lot of ideas of how the tunes should feel, and I appreciate hearing others’ ideas as well. I am currently trying to assemble a team of recording engineers for a full-length album – one with 10 to 12 songs. I want to see who will enjoy working on the album, understand my music, and help me to bring out the best in my songs.”

The Puzzle: Rehearsing with Hannah

 The experience of producing an album differs for each artist. For Hannah, her recording days started in Ann Arbor, Michigan, where she created her first album with Brian. Recording the single, “Hide it Away” in her Brooklyn apartment however, presented a different challenge. Hannah explains:

“We only had a chunk of time each day to record songs. We had to wait for cars and ambulances to pass,” because every passing noise could be picked up by the recording devices.

Prior to recording a song, Hannah and her guest-musicians rehearse a piece of new music for the best process. An on-going puzzle during these rehearsals, is figuring out what Hannah is playing on her guitar. She says:

“I’ve been playing piano since the first grade. Then I picked up guitar in the 9th grade, and taught myself. I still have never taken a lesson. From the moment I picked up guitar, I started writing my own songs. I occasionally looked up the chords in songs from my favorite artists, but I never really learned them well. So I wrote my own.

“Playing the piano for so long really helped my ear, but I could never translate my theory knowledge onto guitar. I just press my fingers down wherever and just play things that sound good. When I rehearse with bands, I can’t explain to them what I’m playing so I show them, and they get it. For some, it’s like a puzzle and they really enjoy learning. In turn, these rehearsals help me figure out who I’d like to work with in the future.”

I was surprised to hear that Hannah composes songs purely by ear. I have played guitar for years, and actually picked it up around the same time as Hannah, but I only learned formally.

When I wrote my own songs, I always used tablature and mastered simple major and minor chords. If I don’t have something written in front of me, I don’t know what to do. For Hannah, the power of experimenting and her gift for hearing is an outstanding musical asset.

As I continued my conversation with Hannah, I learned more about her song writing process. She has a few recipes for creating songs that are ready for “the-road-to-recording.”

Setting a piece of music to words

Hannah says, “I experiment with chords for a while until I find a structure I like. Then, I usually start humming a melody over it, and the words come last. That’s the hardest part for me.

“Occasionally, I’ve written music to poetry by my mother, E.E. Cummings and myself, then composed music to it; and this instance, I found it easier to already have the words. To already have a piece of music with a melody and then have to add lyrics to it is really tough.”

Since they are the only musicians creating their songs, the solo singer-songwriter is often challenged by their own compositional methods. Collaboration is definitely one solution that can ease this pressure. However, even the most eloquent songwriter has to push themselves to create a song that will successfully express their emotions or thoughts.

“Sometimes, when I am really upset, I find it difficult to express myself eloquently or poetically; I just want to scream about it and say whatever it is I am feeling.” Hannah adds, “It is hard to make that sound beautiful. Usually though, my best songs come out of these moments.”

 “I Really Love This” 

Like every promising musician, Hannah has set goals for herself and has identified areas for improvement. One of these areas includes becoming more comfortable with performing.

“It’s a very vulnerable thing,” Hannah explains. “Singing with a group of people is comforting as opposed to singing a personal song by yourself. I still get nervous at large gigs just as I’m about to perform, but I want to continue to do so. Once I’m on stage, I feel great.

“The whole thing, like hiring, paying for a band, and covering expenses, can be intimidating, but it’s exciting. I hope to continue to perform more and more. It’s important for me to show people that I really love this and that I believe in myself.”

Hannah’s passion for recording and performing is unfaltering and infectious. Although she does occasionally worry about the challenges within the music industry now; it did not cross her mind when she decided to pursue this path. She says, “It definitely intimidates me, but I love it, so I’m going to continue with it.”

No Idea is Too Small

Hannah might have moved to Brooklyn for more opportunities, but her music career really started in Ann Arbor, Michigan. During this time, she learned to make connections with individuals, make herself known in a music community, and work with others on producing music.

That warm Friday afternoon at a café called Sugar, Hannah taught me that no performance or musical idea is too small. What can start as an open mic night at a little club in Brooklyn, can lead to a performance in a large line-up in Manhattan. What can start as a few words on a paper plate can turn into a beautiful song on either an EP or a full-length album. With her a beautiful voice, a passion for playing guitar, and a talent for songwriting, I feel Hannah Winkler will definitely receive a warm reception from both fans and fellow musicians in New York City.

Opening Doors: Imagine Dragons’ Bassist, Ben McKee, talks about the band’s exciting journey

Posted by musichistorian on

Creating hit songs, completing albums, and finishing nation-wide tours are series of feats in a recording artist’s career. This is why individuals who want to fully pursue music should be ready to dedicate their life to it and LOVE it, like the Las Vegas-native band, Imagine Dragons.   

In a telephone interview, Ben McKee, Imagine Dragons’ bassist, tells me, “We’ve all been playing music for a long time, and performance is where we feel most comfortable. It is magical to be in a space, especially an intimate one, where everybody can be a part of that same community. The music doesn’t become alive until you’re sharing it in a room with a crowd and feeding that energy.”

I saw Imagine Dragons perform at the lounge in Delancey, Pianos, on March 7th, and the experience from watching the band was electrifying. Their music was my greatest motivator for trekking out to Pianos to personally approach Imagine Dragons. Now, I am happy to bring my conversation with Ben to this month’s full-length band feature right here on Music Historian’s, Hear, Let’s Listen.

 The Busy First-Visit to the Big Apple: “That performance was our third one that day”

Getting this band’s attention was not easy. Following their showcase at Pianos, everybody in New York City wanted to meet Imagine Dragons. That evening was also the end to a busy first-time in the Big Apple. Ben explains:

“We drove all the way from Boston to make an 8:00am sound check earlier that day. We performed on the set of Mark Hoppus’s show on FUSE TV; then we had a couple of interviews at a few radio stations; went to another showcase; then made it to Pianos – our third performance that day.”

So what is it about Imagine Dragons that has recently caught the attention of disc jockeys, popular music figures, show hosts and of course, fans everywhere? The answer might hide in a sense of ‘mystery’ the band incorporates in both their music and image.

A Factor of Mystery: “We leave all the songs to the listeners’ interpretation”

When I listened to songs like “America” and “It’s Time” I felt that the singer, Dan was touching on the life philosophies and issues that affect everyone as a collective. Another song, “Cha-Ching” which the band performed at Pianos that night helped me imagine a more specific story – one about the tiring strife Americans experience when competing in the business world. These are the lyrics I recall:

“You’ll be a worker/ I’ll be your soldier/…/I’ve never seen this side of you…”

Dan Reynolds (right) and D Wayne Sermon (left) performing at Pianos

When I asked Ben about the meaning of “Cha-Ching,” he explained:

“Dan writes all the lyrics. He tries to write lyrics that are not so definitive. He focuses on something he’s feeling and tries to translate that into lyrics and a mood that people can connect with and attach their own meaning to. We leave the meanings of all our songs a little bit to listeners’ interpretation.”

Further into our conversation, I also learned the band’s name is another big mystery.

“The name, Imagine Dragons, is an anagram,” claims Ben. “We in the band all agreed on a statement and we switched the letters around to create this name so that nobody would guess the statement.” Fans from everywhere have already tried to decode the name ‘Imagine Dragons’ and uncover the hidden message, but nobody has come close. According to Ben, the band is “happy to keep it a secret.”

While the meaning behind Imagine Dragons’ name and music is undefined, their story as a band that gradually built their reputation on the popular music scene is clear and inspiring.

“When we met, we never thought that we’d go on to play pop music in a matter of years.”

Ben McKee, Imagine Dragons’ Bass Player at Pianos in NYC

In his early years, Ben’s love for music stemmed from trying to emulate his father on the acoustic guitar. By the 5th and 6th grade, Ben was forced into playing acoustic bass.

“Up until the 5th grade, I played violin, but then, my elementary school band needed a bass player. Later, in High School, I became part of a jazz trio, and that’s where I really learned to play the bass more proficiently.

“This led me to study at Berklee College of Music in Massachusetts, where I met Wayne (the guitarist) and Platzman (the drummer) who are in the band now.”

A few years later, a telephone call from Wayne led Ben to make the decision of pursuing performance and songwriting full-time with Imagine Dragons.

“Wayne started Imagine Dragons when he moved back to his hometown in Provo, Utah. Then, he moved his band to Las Vegas, and that’s when he invited both me and Platzman to join.”

Soon after the band was complete, the group created a definite style and sound. Introducing it onto the Las Vegas music scene however, was a challenge. According to Ben, Las Vegas is a great city to perform as a cover band, but original bands have a harder time gaining attention.

“A lot of venues will actually want to schedule cover bands in order to attract tourists. When we started, we played cover songs at Casinos by night, and spent the day composing original music. Then, we gradually introduced Imagine Dragons’ original sound into these sets, and found that people, both local and tourists, were stopping to watch us.”

This recognition opened the door to the next big opportunity – performing Battle of the Bands at festivals for four consecutive years and landing in first place a total of three times. Although they landed in third place at their fourth performance; this show would have the greatest impact on the group.

“Playing in front of 20,000 people… had the greatest impact on our career.”

“The Bite of Las Vegas is a music and food festival in Las Vegas, and the Battle of the Bands showcase within this festival is called Battle of the Bite.

“In our fourth consecutive and last performance at Battle of the Bite, we came in third place; just far enough to win a spot on the local stage. It just so happened, that when we performed on that set that afternoon, the promoter of Battle of the Bite was watching from the audience.

“Later that evening, Train, was supposed to perform on the same stage, but singer, Pat Monahan came down with a sore throat, and the band had to cancel their show. The same promoter who saw our show earlier helped place us in Train’s spot.

“Although we didn’t win Battle of the Bite, we played in front of 20,000 people that night. That moment had the greatest impact on our career.”

Imagine Dragons’ history holds a lesson – you don’t have to win every battle to open the next door in your music career. For Imagine Dragons, the opportunities that followed their performance at Battle of the Bite included a contract with Interscope Records in 2011 and working with popular music producer, Alex Da Kid.

“He believes in the music we are making, and he wants to help us bring it to more people”

“One of his assistants [Alex Da Kid’s assistants] presented him with a CD of our old music,” explains Ben, “and Alex connected with it and he loved our sound.

“He wanted to help us realize more of our own vision and work with us to release our music on a bigger scale. He believes in the music we are making, and he wants to help us bring it to more people, which is also what we want.”

Imagine Dragons is currently working with Alex Da Kid on their first full-length album, which they hope to release around this Fall. The title of their upcoming record is a mystery for now, and they can’t wait to reveal it to fans.* They also just wrapped up the music video for their single, “It’s Time,” and are planning to hit the road again in May. In the long run, Ben and the band hope to continue doing the one thing they love most – music.

“It’s been great, and we hope to continue doing it on a bigger scale.”

“Music is the primary way we express ourselves. We are not the most social people, and we feel we are in our element when we perform music. We feel that we can expose ourselves in a way that makes us feel less vulnerable than in other situations.

“We also love connecting with our fans as much as possible. Even with the increasing attention from the press – which we also enjoy – we always want to connect with those who travel great distances to see us perform.

“We are a band that lives and thrives when traveling on the road and performing live for crowds. It’s been great, and we hope to continue doing it on a bigger scale.”

“We never planned on doing music as second to our everyday lives.”

At the end of our conversation, I thought about the exciting road Imagine Dragons traveled so far. I realize an exciting journey like this one is rare, and it doesn’t come easy.

The life of a recording artist is not for the opportunistic job-seeker or entrepreneur, but for the most dedicated artist that is willing to devote years of practice to their craft. The road to bigger opportunities – whether it is a record contract with a big label, going on a nation-wide tour, or releasing a full-length album on a national level – is a long one. Luckily, Imagine Dragons accepted the challenge from what seems like, the moment they started.

Ben says, “We never planned on doing music as second to our everyday lives nor to escape our lives. This is our life and it’s what we wanted to do.”

*The full-length album by Imagine Dragons was released on September 4th, 2012 and it’s titled Night Visions. The record is available for purchase on iTunes.

The right place, the right time: Alyson Greenfield Talks about how Music is calling to her

Posted by musichistorian on

A few hours prior to her music video debut of “Mama Said Knock You Out” at the Church for All Nations on the Upper West Side, Alyson Greenfield works with music engineers and her drummer, Van Alexander on a sound check. Afterward, Alyson, Van, her make-up artist Seevon Chau, hair-stylist Gloria Espinoza, and I travel downstairs below the church to an educational playroom. Here Seevon and Gloria help Alyson get ready while I interview her for my Music Historian blog, Hear; Don’t Listen. 

Surrounded by baby blue walls and preschool décor, Alyson multitasked on a few things like communicating with her industry representatives on her cell phone; cooperating with her stylists as they prepare her for the show; and answering my questions.

I personally know individuals who would get frustrated with this kind of hype, but not Alyson. During my interview, I learned that Alyson has years of experience working several jobs as an artist; and I initially assumed it was this experience that taught her to be comfortable in these situations. Slowly however, I realized that her kindness and flexibility might be the result of her personal development rather than professional.

“I NEVER said to myself “music is the only thing I want to do in my life.”

Alyson Greenfield is a woman of several talents and she happens to be a musician. For Alyson, music is not just a career. It is also plays a great part in her journey to discover her full potential as an individual artist and a member of a collective artistic community.

“I have never said to myself “this [music] is the only thing I want to do in my life.” Nor did I think “If I don’t do this, I’m going to crumble!” I just feel that right now, being a musician is calling to me,” explains Alyson.

“I moved to New York City three years ago to focus on music. In addition to composing and performing music, I started an organization called Tinderbox Arts, and my other jobs included being a teaching artist in drama and dance at different elementary schools. It wasn’t until May of last year that I realized I didn’t have the time or energy for several jobs, and that’s when I decided to only run Tinderbox Arts and perform music.”

Alyson proves that working in the music and performing arts industry can be trying. Working multiple jobs is an obstacle – one which can overwhelm even the most organized and talented worker. So how does Alyson keep going when the going got tough? She says:

“I ask myself questions like ‘do I still want to do this’; ‘do I have something to say’; ‘do I have something different to offer’; ‘do I have time for this’?

“At the moment, I am focusing on meditation and yoga to really help me find a sense of calm and peace within myself, and ultimately help transform whatever I am doing into something that will help me become a whole person.”

These words really struck a chord with me and raised these questions: what did Alyson mean by being a whole person, and how could music help? I found my answers as I listened to Alyson talk about her greatest musical influences and her attraction to electronic music.

“Their songs are about fear and seeing love from different angles…” 

“Tori Amos was the first person to really influence me. Her original compositions and her passion for music touched me. I also liked Radiohead, Bjork, Peter Gabriel and Kate Bush for their use of electronic sounds in their music, which I found really epic and moving.

“Their songs are also about fear and seeing love from different angles. Their songs deviate from the storybook love and heartbreaks. For example, in his song, “Digging in the Dirt,” Peter Gabriel reflects on the feelings he has about his past: he puts his feelings upfront and addresses them.”

Alyson continues, “In this instance, some of the emotions you bring out in music are not always going to be pretty, but expressing them is part of being human.”

One of her songs in which I can detect this openness and fearlessness is “Understand the Sky.” In this song, Alyson openly reveals her curiosities about the physical world. She sings, Get it into your head that I live in a bubble globe… Get it into your head that I am an adventurer… ‘Cause I think I touch you like the sky touches the ocean… but up close, I know I’d have to keep swimming to try and touch the sky. Alyson tells her story behind this song.

“While I was living in Alabama, I had discovered my Casio keyboard could make dreamy sounds. One day, I was in my studio in my apartment, and I just started playing a few chords. The melody simultaneously seemed to come right out of me.

“I wrote about the sky because one day, I was looking up at it and I realized there’s so much I don’t understand about the realm I live in, like where it beings and ends. I also thought the subject of the lyrics would fit very well with the chords I composed.”

“I think electronic instruments transcend time and space in a certain way.”

One can easily interpret “Understand the Sky” as an acceptance or an understanding of how we might never understand the mysteries of the space in which we exist. The electronic harmonies and her immaculate vocals help transform Alyson’s thoughts and words into complete songs.

“I think electronic instruments transcend time and space in a certain way. I also think they help me get over my fear of things I don’t understand, and just help me push forward and get into making music.

“As for singing, I don’t think I’ve ever lived a day without singing. I’ve been writing melodies since I was a kid, and I feel like I always have to write something.”

This inner need for singing enabled Alyson to create a cover of Coolio’s “Gangster’s Paradise.”

“I feel the covers kind of pick me. I just start singing these songs in my home and then sing them in my own way.

“I’ve always loved “Gangster’s Paradise,” and always found it very moving. When I sung it in my own head, I realized I wanted to turn it into a cover song. So, I tried several instruments for the cover like piano, the guitar, a few synths, and then, I found the glockenspiel, which seemed to be the best instrument.”

Anybody can listen to or watch the music video of “Gangster’s Paradise” on Alyson Greenfield’s website. What you will not find on her website are the songs she performed this past Saturday on the stage at The Church for All Nations.

“All the songs I am playing tonight are all new and they’re not recorded. So, that will be one of my projects. I am also releasing a single of a song I recorded at the Converse Studio in Brooklyn last spring, and I will start work on a music video for that single too. My overall goals are to record music and share it with people.”

“I look forward to sharing more spaces like this with people and other musicians.”

Aside from sharing her music with her listeners, Alyson also looks forward to sharing her performance space with musicians, as well as work with other artists.

“One of my favorite parts of being a musician is interacting and collaborating with other musicians. I have collaborated with people on music videos as well as artists in other realms. I enjoy this work because I learn a lot and I feel like I am part of a community.”

While Alyson will still write songs and perform them by herself, she is more excited about the communal experiences that arise with being a musician; like performing with musicians in a space like The Church for All Nations.

“It’s important for me to perform in a space like this, and I am looking forward to sharing more spaces like this with people and other musicians.”

The right place, the right time

 Leaving the Church of All Nations that night, I reflected on my interview with Alyson and realized the following: We all too often hear that a composer’s or musician’s success is based on being in the right place at the right time within the industry. Yet, several musicians rarely think about whether music is calling to them at the right time and place in their lives. Alyson is one musician that carefully examined her circumstances, and listened to her reasoning and her inner voice before fully-pursuing a career in both music and the performing arts.

Alyson is definitely not a musician that acts without thinking or out of pure impulse. Making music is perhaps the only instance where she surrenders her mental toughness, logic and control. The end result includes intriguing instrumentation and harmonies; whimsical and sometimes existential messages; and a voice that anchors all these elements down into one song.